Scale Degree Names Explained
Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone—and the often-forgotten Subtonic.
Why Technical Names?
Every note in a scale has two identities: a number (1, 2, 3...) and a technical name (Tonic, Supertonic, Mediant...). While numbers are quick, technical names tell you what the note does.
When you hear "dominant," you immediately know:
- It's the 5th scale degree
- It creates tension that wants to resolve to tonic
- It's the most important non-tonic harmony
This guide covers all eight technical names (yes, eight—there's both a Leading Tone and a Subtonic), their etymology, memory tricks, and functional roles.
1 The Eight Technical Names
| Degree | Name | Etymology |
|---|---|---|
| 1 | Tonic | Greek tonos = tone. The "home" tone. |
| 2 | Supertonic | Latin super = above. One step above tonic. |
| 3 | Mediant | Latin medius = middle. Midway between tonic and dominant. |
| 4 | Subdominant | Latin sub = below. A fifth below tonic (or one step below dominant). |
| 5 | Dominant | Latin dominus = master. The most powerful non-tonic degree. |
| 6 | Submediant | Below the tonic by the same interval as mediant is above. |
| ♭7 | Subtonic | A whole step below tonic (natural minor, Mixolydian). |
| 7 | Leading Tone | A half step below tonic—it "leads" to resolution. |
In C Major
C = Tonic | D = Supertonic | E = Mediant | F = Subdominant
G = Dominant | A = Submediant | B = Leading Tone
In C Natural Minor
C = Tonic | D = Supertonic | E♭ = Mediant | F = Subdominant
G = Dominant | A♭ = Submediant | B♭ = Subtonic
2 Memory Tricks
The "Super/Sub" Pattern
Super = above by step → Supertonic (one step above tonic)
Sub = below by fifth → Subdominant (one fifth below tonic)
The same logic applies to the mediants: Mediant is a third above tonic, Submediant is a third below.
Tonic = "Gin and Tonic"
Just like tonic water is the refreshing base of a drink, the tonic is the refreshing "home base" of a key. Everything returns here.
Dominant = "Dominating"
The dominant chord dominates the harmony. It creates the strongest pull back to tonic. V→I is the most powerful progression in tonal music.
Mediant = "In the Middle"
The mediant (3) sits in the middle of the tonic triad. It's the note between 1 and 5. The submediant (6) mirrors this below the tonic.
Leading Tone = "Leads You Home"
The leading tone is just a half step from tonic. It leads your ear upward to resolution. If it's a whole step away, it doesn't lead—it's just the subtonic.
3 Leading Tone vs. Subtonic
This is the most commonly confused pair. Here's the simple rule:
The Half-Step Test
- Half step below tonic → Leading Tone (has strong pull)
- Whole step below tonic → Subtonic (less pull)
Where Each Occurs
Leading Tone appears in:
- Major scales (always)
- Harmonic minor (raised 7th)
- Melodic minor ascending (raised 7th)
Subtonic appears in:
- Natural minor (unaltered 7th)
- Mixolydian mode (lowered 7th)
- Melodic minor descending
Example: A Minor
A natural minor: A-B-C-D-E-F-G-A → G is the Subtonic (whole step)
A harmonic minor: A-B-C-D-E-F-G♯-A → G♯ is the Leading Tone (half step)
4 Function Groups
Scale degrees group into three functional families based on how they behave harmonically:
Tonic Function (Stable)
Degrees: 1, 3, 6 (Tonic, Mediant, Submediant)
These feel at rest. Chords built on them (I, iii, vi) can substitute for each other in many contexts.
Dominant Function (Tension)
Degrees: 5, 7 (Dominant, Leading Tone/Subtonic)
These create tension that wants to resolve to tonic. The V and vii° chords drive music forward.
Subdominant Function (Pre-Dominant)
Degrees: 2, 4 (Supertonic, Subdominant)
These typically lead to the dominant. The classic progression is IV→V→I or ii→V→I.
The Functional Cadence
Subdominant → Dominant → Tonic
This is the fundamental motion of tonal harmony. Pre-dominant prepares dominant, dominant resolves to tonic.
5 Historical Context
These names come from Jean-Philippe Rameau's Treatise on Harmony (1722), which established the foundation of functional harmony.
Why "Dominant"?
Rameau recognized the fifth scale degree's special status through the overtone series. The fifth is the first non-octave note to appear in the natural harmonic series, giving it acoustic prominence. The V chord "dominates" the harmony because of this natural acoustic strength.
Why Fifth-Based Naming?
Subdominant is a fifth below tonic, not just "the note below dominant." This reflects Rameau's theory that harmony is built on chains of fifths. The tonic sits between two fifths: dominant above, subdominant below.
Ready to Practice?
Our flashcard tool tests both directions: identify the technical name from a note, or spell the note from a technical name.
Start Technical Names Flashcards →Frequently Asked Questions
What's the difference between leading tone and subtonic?
The Leading Tone is a half step below the tonic and strongly "leads" to resolution. It occurs naturally in major keys and harmonic minor. The Subtonic is a whole step below the tonic and doesn't have the same pull. It occurs in natural minor and Mixolydian mode. For example, in C major, B is the leading tone. In C natural minor, B♭ is the subtonic.
Why is the fourth degree called "subdominant" instead of "supramediant"?
The subdominant is named for its relationship to the tonic by fifths, not steps. It's a fifth BELOW the tonic (C down to F), just as the dominant is a fifth ABOVE. The "sub" prefix means "below" in this fifth-based system. This naming convention comes from Rameau's theory of fundamental bass, which emphasizes fifth relationships.
Do scale degree names change in minor keys?
Most names stay the same: Tonic, Supertonic, Mediant, Subdominant, Dominant, and Submediant. The key difference is the 7th degree: in natural minor it's called the Subtonic (whole step below tonic), while in harmonic minor the raised 7th is the Leading Tone (half step below tonic).
What is the dominant of the dominant called?
The dominant of the dominant is called the Secondary Dominant, written as V/V ("five of five"). For example, in C major, the dominant is G. The dominant of G is D, making D major the secondary dominant (V/V) in C major. This is a common chromatic chord that adds tension before the dominant.
Why do musicians use technical names instead of numbers?
Technical names convey function, not just position. "Dominant" tells you the chord wants to resolve to tonic. "Leading tone" tells you the note pulls upward. "Subdominant" suggests pre-dominant function. These names date back to 18th-century theory and are still used because they communicate harmonic meaning more richly than numbers alone.
Quick Reference
1 = Tonic — Home base
2 = Supertonic — Above tonic
3 = Mediant — Middle (tonic to dominant)
4 = Subdominant — Fifth below tonic
5 = Dominant — The "master"
6 = Submediant — Third below tonic
♭7 = Subtonic — Whole step below
7 = Leading Tone — Half step below